Cultural Reporters

Jennifer (left) and Angela Chun perform Sonatina for Two
Violins by Isang Yun

By Elizabeth Shim

To their bevy of devoted fans, classical musicians of Korean descent are a source of inspiration. Their tales often serve as striking metaphors of the country’s modern progress. From early trials and tribulations as child prodigies, to an exceptional rise in a highly competitive world, top performers are unequivocally household names in Korean communities around the globe.

The
violin-playing sisters Angela and Jennifer Chun hold a special place in
the pantheon of Korea-born violinists. The duo has been described as
“playing with an intensity and sense of purpose” by Strings
magazine, and lauded as “rare jewels of classical music” by virtuoso
violinist Nathan Milstein. The Chun sisters can now add another token to
their heap of accolades: introducing a rarely performed but important
piece by modern Korean composer Isang Yun.

On a balmy June
evening, Angela and Jennifer, wearing contrasting dresses of black and
white, struck a chord with a small but attentive audience at the Tenri
Cultural Institute’s acoustic-rich gallery. With unrivaled composure and
flawless finish, the duo began by performing short but intricate pieces
by Béla Bartók (1881-1945) and his contemporary, Sergei Prokofiev
(1891-1953).

The Prokofiev
movements were often underscored by Frederic Chiu’s dexterous maneuvers
on pianoforte, while the rustic and often melancholy tunes of
Bartók soared as sisterly violins conversed in a chorus of notes that
fused naturally.

Angela and
Jennifer took up the violin at a very young age, and have studied under
the same teachers over the years. Their music grew up together, and the
musical bond between the two dominated the evening’s performance both
visually and aurally.

The highlight of
the evening arrived when the duo introduced a rarely played piece by
Berlin-based Korean composer Isang Yun (1917-1995). Yun’s Sonatina
for Two Violins opened slowly and solemnly, and eventually evolved
into long, drawn out lamentations interspersed with improvisational
gestures designed to evoke the sound of the traditional Korean flute.

“Yun wrote the
piece for two violins,” Jennifer explained afterwards, “to represent the
two Koreas. The first and second movement represent conflict, then the
last movement is about harmony.”

Yun came to
public attention in 1967, when he was held on charges of spying for
North Korea. His personal experience with abduction and imprisonment by
his fellow countrymen only heightened his wish for eventual
reconciliation between the two Koreas.

The Chun sisters
had worked with Yun in previous years, and his influence prevailed the
musical mood of the evening.

“The whole recital
was created because of the Isang Yun piece,” Jennifer revealed. “It was
very important. We wanted to play this piece for a special reason.”